The protagonist then plays more with the viewer: a chance encounter is described that seems to serve no purpose. The bystanders in the image that we are still looking at, are mirrored by that chance encounter with passers-by in the garage opposite. However, whereas the bystanders are all wearing “Western” clothes, the passers-by we hear about are described as wearing black headscarves. In the collapse of time between the narrative and the visual, subjectivity is all. Initially authenticity is emphasized through the narrator’s disclosure of her father’s origin to the women in the car, those “wearing black headscarves”, itself a different signal to authenticity, telling them that she was interested in Islamic arts. This seeming innocent encounter, though, is undermined through an erotic dream that makes explicit the desire that charges through ethnic insiderism. The narrator dreams about the veiled woman and has an erotic dream.

Deniz aka Suzan Dennis, the narrator is split in her desire for her exotic other, who is more visibly other, more present in difference that she, from the narration, can be assumed to be and in the erotic encounter we are invited to revise our image of the narrator’s voice as itself erotic.